Costumes and Cuppas in Belfast.

Last Wednesday whilst I was in Belfast for a wedding (of which much more in another post) I had the pleasure of meeting someone whom I had only previously ‘talked to’ via email. And when this person you meet turns out to have been to the same school as you…you immediately relax and feel you are amongst friends.

And it was as if we had known each other for a long time as Anna Liesching the Asst Art Curator at the Ulster Museum and I had wide ranging chat. A perfect way to share knowledge, anecdotes, information and costume stories.

Talk ranged from school, (only fair to point out that Anna would have been there many years after me) to details of how a museum collection is built up, added to and maintained. I heard about the collection of Irish dance costumes held at the Ulster Folk Museum. Their exhibition ‘A Step In Time..The Story Of Irish Dance’ runs until January 2016.

We talked about exhibitions in London that we had seen. Anna was able to confirm that the Alexander McQueen retrospective was as spectacular as the PR people said it was. I told her about my association with a local museum here in Sussex and my research into dresses in their collection.

We went up to have another look at the Age of Liberty exhibition. I was delighted to hear that its run has been extended until August this year.

We both admired the sheer loveliness of these gowns. And speculated on what they would have been like to wear. I reflected that even if they were in my size, I never go anywhere to wear a garment like an exquisitely beaded evening jacket. I gasped when Anna told me that this had been taken to the Museum in a carrier bag. What a treasure to lift out of any sort of bag.

Anna has huge enthusiasm for what she does and I envy her working in the Ulster Museum. The building has spectacular light with a striking view upwards from the ground floor.

It’s lovely to talk costume with a like minded soul.

So thanks again Anna. The tea is on me the next time….

Oh to be in England

It is one of those sunny days in an English spring when a young girls fancy turns to summer dresses. Proper summer frocks... no doubt influenced  by what you wore as you grew up..floral, pastel, sash for a bow at the back, cap sleeves and a square neck. Horrocks made them for older girls and now I think about it my school summer uniform was this pattern, but with a Peter Pan collar and a belt that did up with buttons at the front.
There was something about a summer dress and white ankle socks and of course, your special summer white cardigan. It was all about wearing the correct clothes at the correct time and/or event. In some ways it was so much easier. Everyone knew what to wear when. As with a lot of things this has plus and minus sides. Yes, its freer and more casual now..but then the agony of what to wear to an event is doubled. I have been to a black tie dinner where a lady wore trousers...(not 'evening' trousers, cloth ones) and to weddings where guests look as if they are on their way to the shops. Does it matter? I think so. Not everyone has the money, inclination or time to 'dress up', but surely a special occasion should just be that?
I began with summer frocks and seem to have veered off into 'it was all different in my day'. Every time I do this I feel old. And whats more I now know that whatever you swear you are not going to do when you are older, (because you parents did it mostly), you do. And saddest of all, you sometimes don't even know you are doing it.
Time to go and moan at some modern music on the radio I think.....

LE CHARME DE BRUXELLES..... MODUS VAN BRUSSEL..... FASHION FROM BRUSSELS

Glamour

30’s Fashion Expo

Brussels Costume Museum

March 2015

Link to Museum web site (in English)

http://www.museeducostumeetdeladentelle.be/en/home/

The ground floor showcased the daytime, the garden party and the weekend. The first floor featured the wedding and the evening.

The second floor presented in private.

So much to see at Brussels Museum of Costume and Lace. A fine illustration of the metamorphosis of fashion and females from the roaring 20s to the late 1930s when the lights began to go out again all over Europe. The decade’s style evolution was plain to see in the first tableau. A drop waisted bright yellow crêpe 1920s dress stood beside a 1930s dusky blue bias cut velvet evening gown. It made it easy to see why flappers favoured short boyish hair whilst 1930s ladies strove to be sophisticated with perms and waves. The hairstyles just went with the clothes and would have looked quite wrong the other way round. You could argue that any ten year period in popular fashion would show the same level of variation. Hindsight can be cruel, but looking at the clothes in this exhibition from a distance of many years it is sobering to trace how the more unsettled the political landscape, the more swirly and luxurious and embellished and totally impractical fashion became.

The daytime collection reminded one that even in the 1930s women strove to follow fashion with whatever means were at their command. Hence those who could not afford expensive furs, bought moleskin or dormouse or lamb or rabbit… which had been treated to look anything rather than rabbit…If you had the time and money to change in the afternoon, you had plenty of choice of what to wear. Afternoon dresses of silk faille, of navy blue crêpe and of aquamarine cotton printed with anemones, tulips and wild flowers just awaited a 1930s summer day. One dress in this section, described as a formal dress from the late 1920s, was so like the clothes I wore (or wanted to find and wear) in the 1970s I had to have a second look. It really was hard to believe that the dress was over eighty years old. Round neck, full sleeves, mid calf, decorated with embroidery, smocking and a beaten copper belt buckle …it fitted the bucolic style from the 1970s perfectly. The garden party collection brimmed with taffeta, muslin and floaty crêpe. It can be summed up by ‘pale and pastel with a parasol’ (and a wide brimmed hat). Imagine a sleeveless white polka dot organdie dress, flounced hem, lace ribbon and a green velvet belt lining. Very languid, very Hollywood and very chic.

If the garden party hadn’t left your sensibilities too fatigued, there was always the weekend to look forward to. For every activity there were special clothes. A riding habit. Beach pyjamas, a swimsuit. Summer hats, matching bags and of course a parasol…

Up to the first floor and there they were…dresses for a Girls Big Day, one of the big social events of any Season…The Wedding.

Again a marked contrast between dresses ten years apart in fashion years. (which is a lot of years) There was a dress very like the one worn by Queen Elizabeth the Queen Mother in 1923. Ivory satin, mitten sleeves, silver lace, a long scalloped train. Ah… but the 1935 crêpe confection beside it was pure film star. Long sleeves, a draped belt made of triangular panels cut on the bias and a draped cowl neck. If the wedding gowns were fairytale, then the evening gowns were storybook. Mauve crêpe stood next to lavender crêpe. Draped necklines, black sequins, silver lamé, machine made lace, silk velvet, bows, paste trimmings and little capes. (Nb. Not all on same dress) High class dressing up for glamorous people.

It’s not only these days that slim people get the best clothes. An early 1930s black sequined evening gown and a Chanel sheath dress constructed of mother of pearl sequins were very slim. I can only assume these women did not eat all evening (or sit down). The one piece I would like to have taken home to wear was a silk lamé coat in figured gold and green. The green lamé had slits to allow the gold lamé to show through. From Lanvin, winter 1926/27. Sublime. As memories of wearing mourning dimmed a little after the First War, black came to be seen as quietly elegant. Chanel and her lbd from the 1920s was copied widely and the 1930s embraced the trend. Helped by the popularity of Hollywood films and the perceived elegance of the actresses in those films, black became an essential for your wardrobe. I saw what Schiaparelli did in the 1930s to put her own special stamp on this trend with a floral satin cowl neck top with long full sleeves worn with a floor length black skirt. One striking example of the couturiers art appeared at first glance, to be a dress and bolero. It was in fact one piece, made in black satin crêpe and white satin silk. The bolero, lapels and cuffs edged with black and white fabric petals.

The second floor presented In Private. The lingerie and nightwear that went under and with these beautiful clothes. Powder pink rayon bras and girdles from the 1930s. Nightdresses in the same pink, with v necks, shoulder flounces and quantities of machine made lace. Plus the wearer’s initials embroidered on the bodice. A silk kimono in blue and yellow worn over sleeveless blue silk pyjamas…this ensemble included a matching clutch bag. Bed jackets in powder pink taffeta, slips, a dressing gown and a pair of red silk stockings from a chic city centre shop.

And that was that. Three floors of captivating clothes.

Yet again Brussels Museum has assembled a sumptuous exhibition, one that reminds us that not only did Belgian couture epitomise faultless elegance, but rightly takes its place in the Age of Glamour, which is so beautifully displayed here.

JUST WHEN YOU THOUGHT YOU KNEW EVERYTHING.....

Along comes a new challenge. Years of working in what used to be called a computer centre might have been thought to lay the groundwork for a lifetime of IT wizardry and comprehension.

A sort of innate IT DNA implant if you will...

DUH as someone once said.

Blogs were not even a glint in a geek’s eye a few years ago.

Well I’m in the blogosphere now...And it’s lovely.

I’ve read the Help. I even understood some of it.

I’ve moved boxes round on a template (or possibly a layout)

I’ve chosen the most fab 70’s orange background (I painted my bedroom fireplace that exact colour when I was a teenager)

I’ve failed to transfer things to the blog from a variety of sources.

I’ve felt a blip of achievement when I managed to insert an alert box.

I’ve (thankfully) realised that whilst enjoying posting original content was very satisfying, I had given no thought to backups………

So the learning curve flattens, coughs and will rise again soon.

A blog gives me a lovely platform for my writing. When you are freelance, there are bound to be gaps in paid work (Sadly). With a blog I can noodle along on the keyboard and not let a single pearl of wisdom atrophy.

I don’t have to close my eyes and click the Recount button to see if I’m over my word limit. (Obviously I would open my eyes to see what it said in the box eventually…and it was a rare article that was not better for a good prune to get it down to spec.)

I don’t have to write it, double space it, email it off and then wait.

Just Write, Check for spelink and Publish!

Of course the wait to check my account for a payment has gone too, but hey...if you are reading this and you would like to commission a piece from me, please get in touch.

And so, they all lived happily ever after; the fair blogger, her superlative writing skills and Letterstoadress.****

****Keep up. That’s the blog name.

Dress Back Stories

There are things in a Museum that you can walk past without a second glance.
Other items make you pause and think how interesting and  I didn't know that!
And the best bit is when you see something that makes you stop and look and examine and wonder.
Costumes, clothes, dresses..whatever you like to call them... do it for me every time.
I am lucky enough to have I had the chance to get up close to some of the clothes (white gloves in place of course) that are held by Henfield Museum in West Sussex. Promoting the Museum was important, as was writing pieces about the costume collection . I wanted to describe the clothes and invest them with a flavour of their back story .

One dress was so intriguing that I did a lot of digging and was delighted to be able to offer a possible explanation as to why a gorgeous velvet evening dress in perfect condition had been donated to the collection. With an obituary from a Parish Mag to work from I managed to trace a friend of the lady who had worn the dress. With the info from her and the assistance of a charity she had devoted many hours to I and was able to discover how full her life  had been. She had had an important job in London at a time when women in senior jobs were a rarity. The simple answer to why such an elaborate evening gown was part of her life was that the Charity regularly had a dinner dance at their headquarters, and this lady was on the dance Committee. Sadly she became ill and as far as I can ascertain, it was she who had donated her dress, wishing to get her affairs in order. I wish I 'd met her. So many stories sewn up in dresses....

Have a peek at some of the other treasures I have looked at....

http://issuu.com/bn5magazine/docs/bn5_june_13       P23

http://issuu.com/bn5magazine/docs/bn_october_13    P16

http://issuu.com/bn5magazine/docs/bn5_jan_14         P13

http://issuu.com/bn5magazine/docs/bn5_june_14       P19 & 20

BN5 is a great local magazine. They are always keen to help village institutions.

The Age of Liberty

                                    

Ulster Museum Belfast

Until 19^th April 2015

EXTENDED UNTIL 31st AUGUST 2015

link to museum's website

When you walk round the Age of Liberty it soon becomes apparent that the title of this sumptuous exhibition is as clever as it is descriptive.

It succeeds in showcasing the elegance of fashion against the backdrop of the new domestic and leisure freedoms of the age. At last, clothes for women were designed to be more comfortable, and allow women to have a more active life…. not to mention expanding their waists along with their horizons.

One of the joys of looking round an exhibition such as this is the fascinating snippets of information you can pick up. The expression loose women has its origins in those damsels that chose not to wear the full compliment of underpinnings. As a result they were not as corseted and therefore not as upright (literally and figuratively) as their peers. Good lighting can be crucial, if a little cruel, but I did not know that wearing yellow was not advisable under gaslight, as it did not flatter one’s complexion. Electric lighting, introduced in the late 1880s, changed all that, so yellow had the green light so to speak. Right up to the minute is the mention of a certain popular TV Abbey and how a blue satin and chiffon beaded evening dress on display would fit right in.

Corsets have their origins in Italy and were first seen in France in the 16^thcentury. Designed to hold you in, hold you up and trim your waist, once they arrived on the fashion scene they did not leave it in a hurry.Corsets are still with us in 2015. Bustiers and basques appear as part of special occasion gowns, wedding dresses in particular. Should you require one, it is possible to buy a wedding maternity corset (with extra ruffles).For a long time a lady’s maid was the most essential accessory in your wardrobe. Lacing you in to your corset and dressing you in the morning and reversing the process at night. Your maid had to pick things up off the floor for you…as an injudicious movement in a tight corset could result in a swoon, which was all very well in its place, but would not add much to a lunch party. By the early 1900s the gradual loosening of the corsets grip meant all sorts of new experiences opened up for women… like being able to breathe properly.

The 18^th century gown displayed at the beginning of the exhibition perfectly demonstrated the tightly constricted silhouette, tiny waist and rigid posture achieved by a corset. To wear a gown like this pink silk confection, women stood like mannequins while their maids pinned, sewed and arranged them into corsets, petticoats and panniers. Many of us would not have the occasion to wear a pink silk panniered dress, which when considering the availability of maids these days is probably just as well.

The 1900s was the beginning of the end of the corset story.It became possible for women to regard garments in terms of comfort and practicality. At last clothes were for living and working in, not perching carefully on a chaise longue. This exhibition has assembled some very fine examples to illustrate this gradual change.

A walking suit from 1905 shows the influence of male clothing in the pin striped grey and green wool material used. The suit was a comfortable, functional outfit, with the added bonus of the wearer not being so dependent on having a maids help to dress. This last was becoming increasingly important as women’s roles began to change and broaden. Although being able to dress yourself was not something that wealthy women would do. Their clothing was extremely elaborate and as they would change as much as seven times a day, having a maid was still vital.

Less restrictive corsetry lead to straighter, simpler, shorter gowns.

In 1912 a columnar silhouette would have been flattering to wear and simple to move in. Care would have been needed not to tear the silk chiffon bodice with its glass beads, but the lead weights sewn in the hem would ensure everything stayed in line.

Popular culture. Modern fashion. Ensuring clothes appeal to a young market. These tenets were as integral and intertwined in 1918 as they are now.This Paul Poiret velvet dress has a silver lamé lining that only shows while you are kicking your heels up and dancing the tango. Innovative, daring, stylish.

The Ballets Russes were hugely successful when they toured Europe     from 1909 to 1929. The deep rich colours and sumptuous fabrics that they wore provided inspiration for many fashion choices. This evening dress from 1918 marries paprika with turquoise, all made up in chiffon

with gold detailing. Looser in shape perhaps, but great care was still needed whilst wearing such delicate fabric...not to mention the maintenance required for repairing and refreshing the dress post party. So all things being equal (which they weren’t really if you were a maid) servants were still pretty essential to the wealthy and their clothes.

But once fashion dictated the demise of elaborately structured clothing and by default hastened the reduction in underpinnings, women grasped this opportunity with both hands. Finally you could be fashionable and have a range of movement that your mother must have envied.  You could even get dressed by yourself. Such freedom was unheard of… demonstrating how times were a-changing …..and would continue to change as the 1920s roared in.

This exhibition beautifully displays a collection of exquisite costume. The staging compliments and enhances the clothes without distracting the eye. The dates and details shown in the cases provided a real bonus, not just a bland description of the clothes, but mentioning key information and interesting tidbits.

My favourite dress has to be the 1909 black sequin evening gown. Although I fear, that for me, a considerable corset would have been crucial.

My grateful thanks to ET, AL, SR and JP

Words and photographs SCR 2014

        

FASHION SPROUTING IN BRUSSELS

Their are 28 countries in the EU now..and it would appear all of them contain a rich seam of talented creative artists.

On now in Brussels is

FASHIONARTEU.

Clothes/costumes/ensembles that are fantastic, imaginative, works of art and fashion.
All thanks to the Fashion Art Institute for this inspiring multi cultural, multi country feast. The 28 costumes are displayed in the modern setting of the Parliamentarium. They sit well there...old and new influences..styled on plain white mannequins bathed in spotlights in a new euro building. Representing a story told in dress that is designed to convey the cultural roots of each country.
National influences are there to be seen. There are faint echoes of illegal occupations that remain as political memories and resonances. Religious symbolism isn't forgotten.... a blue robe for a Madonna with teardrops of blood scattered over the surface.
Traditional costumes were used as a starting point in many cases..with a chic coat in white with red and black detail inspired by a coat from cold Lapland.
Each dress, for most are dresses, some long, some knee length,  has an info board telling of who and why and where they are from...all written in English which...and I cant resist this...is now the lingua franca of the EU (and the world)
The UK is represented by Sickboy. Painter and street artist.
He says that he was inspired by Guardsmen and V. Westwood. The fabulous art on the skirt of the dress looked almost like LP cover art from 1970s..detailed colourful, other worldly.
Nice touch in the purple crown shaped headgear.
So, to see green fur. Bat wing sleeves (literally) A grass cape covered in birds and leaves. Elegant shifts and fiercely painted multi coloured layered painted panels.Wonderful theatrical headpieces. Long gloves, crystal beads, net,chiffon and acrylic, go and see this exhibition.
Its free and in English...whats not to love?